This production, directed by Annabel Arden with set, costume, and video design by Joanna Parker, takes a bold interpretative stance by reframing the Dutchman as a symbol of the stateless and voiceless. The opera begins with recorded testimonies of real refugees, reinforcing the parallel between Wagner’s cursed mariner and modern asylum seekers. Instead of a ghostly ship, the production places the action within the confines of the UK Home Office, with Captain Daland recast as the Home Secretary. This setting creates an intriguing, if at times heavy-handed, political subtext.

The staging is visually striking, with atmospheric video projections depicting the vastness of the sea, the mysterious figure of the Dutchman, and, most notably, images of real refugees at sea. These projections work effectively in reinforcing the themes of isolation and despair that run through Wagner’s opera, though at times, the imagery of people was somewhat difficult to discern. Nevertheless, the concept is a powerful and relevant addition to the production, drawing contemporary parallels to a centuries-old story.

Of the principal performers, Layla Claire stands out with an outstanding portrayal of Senta. Her vocal performance is both expressive and commanding, conveying the character’s deep yearning and tragic devotion to the Dutchman. Despite an unconventional interpretation of her role — at times evoking a youthful dreamer rather than a tormented heroine — Claire’s singing is full of nuance and intensity. Robert Hayward’s Dutchman is equally compelling, his rich baritone capturing the character’s haunted desperation. Clive Bayley’s Daland is a fascinating mix of bureaucratic satire and traditional operatic presence, adding a layer of wry humour to the role.

The chorus and orchestra are, without doubt, superb. The richness and power of the choral singing adds weight to the opera’s most dramatic moments, while the orchestra, under the guidance of conductor Garry Walker, deliver Wagner’s sweeping and intense score with precision and emotional depth. The balance of tension, lyricism, and grandeur in the orchestration heightens the production’s impact, ensuring a musically captivating experience.

However, the choreography leaves much to be desired. At some points, the chorus inexplicably perform ‘the robot,’ followed later by what appears to be a Mexican wave. These choices feel out of place in the context of the production, distracting from the otherwise well-crafted staging and musical performances. Such moments of ill-judged movement undermine the intensity of the narrative and feel incongruous with the opera’s sombre tone.

Overall, this production of The Flying Dutchman is a well-executed and compelling interpretation of Wagner’s work, enhanced by powerful performances and an evocative visual presentation. The integration of real refugee imagery adds depth and relevance, despite some minor clarity issues. While the production excels in its musical and dramatic elements, the misjudged choreography detracts from the overall experience. With a more cohesive approach to movement and staging, this could have been an exceptional production. As it stands, it is an engaging but flawed rendition.

Opera North’s The Flying Dutchman was at Lowry, Salford on 15 March 2025 before continuing on tour.

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This cabaret-style extravaganza, brought to life by the formidable duo of Jon Brittain and Matt Tedford, truly dazzles with its flamboyant mix of humour, political satire, and 80s-inspired glitz.

Celebrating its 10th anniversary, this show has cemented itself as a drag sensation. The plot is as audacious as its execution: it reimagines Thatcher (played by Matt Tedford) lost in Soho on the eve of the infamous Section 28 vote. Rather than focus on draconian laws, this version of the Iron Lady takes a wildly different route—accidentally becoming a cabaret superstar, questioning her stance on LGBT rights along the way.

Tedford’s portrayal of Thatcher is nothing short of spectacular. From her poised accent to her iconic mannerisms, Tedford flawlessly brings to life an alternate, fabulously campy version of the divisive Prime Minister. His Thatcher is biting, quick-witted, and yet somehow endearing. The audience interaction was a highlight, as Tedford’s Thatcher directly addressed some audience members and toyed with the crowd, injecting the evening with unscripted hilarity.

Supporting Thatcher on this rollercoaster ride are two moustachioed performers in denim shorts and vests, deftly switching between multiple characters, including political figures like Winston Churchill and Section 28 champion Jill Knight. The show’s energy levels never dip as the cast bounce between musical numbers, comedic sketches, and poignant political commentary. The water-spitting handbag scene and their dynamic choreography had the audience roaring with laughter.

One of the show’s greatest strengths is its ability to meld humour with commentary. The sharp, satirical digs at British politics—both past and present—resonate deeply, without ever feeling preachy. The portrayal of Section 28, the era’s anti-gay legislation, adds emotional weight to the otherwise light-hearted production. While rooted in Thatcher-era politics, the show refreshingly stays relevant, drawing parallels to modern political climates. It balances the ridiculous and the serious with great finesse, making its political punchlines land that much harder.

Tedford’s Thatcher is a force to be reckoned with, and his fast-paced delivery, perfectly in sync with Alex Fernandes’ lighting and the sound design by Ed Lewis and Jon Brittain, makes for a truly slick performance. The iconic YMCA number had the entire audience up and moving, with Tedford skilfully involving everyone in the choreography.
The show delivered a truly electrifying performance. Tedford’s Thatcher ultimately triumphs in a final, jaw-dropping tribute to disco queen Donna Summer, complete with miniskirts, feather boas, and all the camp one could hope for.

Margaret Thatcher Queen of Soho is not just a drag show; it’s a daring, clever, and thoroughly entertaining piece of theatre that successfully critiques politics through laughter and satire. Whether you’re a fan of camp, political satire, or simply a lover of great theatre, this is a show that will leave you beaming long after the curtain falls.

Margaret Thatcher – Queen of Soho is at The Lowry, Salford from 10-14 September 2024. Age guidance 16+

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I enjoyed reading Mark Haddon’s best-selling novel, The Curious Incident of the Dog in the Night-Time, almost 20 years ago and was intrigued to find out how the book had been adapted for the stage. I was not disappointed: it is a masterpiece in acting and choreography, wrapped up with an incredible high tech stage set which creates a sharp insight into the mind and perceptions of a young man who sees the world differently.

The story centres around Christopher Boone, a neurodiverse teenager who discovers his neighbour’s dog stabbed to death and determines to find the culprit (using his ‘detecting skills’, learnt from his intense reading of Sherlock Holmes). This might sound like a rather dark and disturbing ‘who dunnit’, and yes – there is shadow and anguish for the main characters throughout. However, that is only one element of the play – we are presented with humour throughout, and what we are really being provided with is an insight into the mind of someone neuro-divergent and seeing the world from his perspective.

David Breed is superb as Christopher, conveying his ‘otherness’ with astonishing energy and sensitivity, showing what it must be like to live in a world where you can’t bear to be touched, you have no friends except for a pet rat, you understand facts but not feelings, and simply cannot lie. His performance conveys Christopher’s vulnerability but also his capacity to find the magical within a world that may seem to us just rather mundane.

Near the start of the play, we witness Christopher’s father telling him his mother is dead. He only discovers she isn’t when he finds a cache of her letters hidden in his father’s bedroom – a scene which, under Marianne Elliott’s highly inventive direction, powerfully evokes emotional turmoil as the letters cascade down over him in a whirl of illuminated words. We then witness Christopher’s journey of discovery to find out that the things he knows and loves might not be as simple as they seem – truth and lies and issues of trust are key in the overall story.

This tour of the show is supported by Access All Areas, who aim to make disruptive theatre with arts who have autism or a learning disability. The full cast is incredibly strong, and works together in complete synchronisation. Christopher’s father, Tom Peters demonstrates the great strain of parenting and protecting a child who is ‘different’, ranging from sheer anger to softness and complete love.

Kate Kordel, who plays Christopher’s mother, conveys a very moving sense of maternal conflict: she loves her son but can’t live with him, leading to some heart-breaking scenes. The wonderful Rebecca Root shows grace and calm common sense as Christopher’s teacher, and also acts as the narrator of the go-to place in Christopher’s mind to calm him down in the difficult situations he find himself in.

The stage set initially seems so simple – basically a square white box, but as the show progresses, you realise it is an exceptionally high tech set, filled with hundreds of LED lights to show you Christopher’s thoughts and emotions to help you to learn more about what is going on inside his head. Designer, Bunny Christie and lighting designer, Paule Constable use a variety of techniques from strobe lighting to words flying across the stage via digital projection, to allow us to experience Christopher’s struggle with sensory exhaustion and feeling overwhelmed in a world that might seem calm to others. In the first act, we see Christopher building his train track to keep him calm, and watch how the complexity and chaos of that intensifies with his increasing levels of frustration and confusion.

Movement Directors, Scott Graham and Steven Hoggett deserve particular praise for the expertly choreographed production. Timing of actors is precise throughout in terms of both movement and spoken word, and the ways in which the cast helps Christopher move around the stage create truly magical moments, whether it be floating in outer space, or literally walking the vertical walls of the stage. The way the rest of the cast help move him around the stage helps you realise that every part of this play is coming from the mind of Christopher, and without him there wouldn’t be a story.

The Opera House was packed last night, and it was wonderful to see this modern masterpiece of a play being watched by all ages – from teenagers to the elderly, and everyone in between. I was taken on an emotional rollercoaster, but left with a sense of joy (note to readers – don’t leave the auditorium too soon ….as many did last night) and it’s a play that is going to stay in my thoughts for a long time to come.

The Curious Incident of the Dog in the Night-Time is at the Opera House, Manchester from 8-12 March 2022 before continuing on its UK tour.

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I had heard about Everyone’s talking about Jamie and seen that it had won award after award after award, but with the onset of Covid and being locked-down, the show took a little longer than originally intended to reach the Lowry. I had the absolute privilege of finding out whether it lived up to the hype and believe me – it did – in spades! What a fantastic show, which thoroughly deserves our five star rating!

This is my first trip to a theatre since the lockdown restrictions have been lifted, and it was so wonderful to see the house completely full. It was not just me who was excited to see Jamie last night – the audience comprised every age group, interspersed with many a fabulous drag queen!

Jamie New, a 16-year-old misfit in Sheffield, has a secret – but it doesn’t stay one for long. The news of his aspirations to become a drag queen soon sweep through his school, and he embarks on a journey of self-discovery and empowerment – out of a classroom, away from the bigotry of a deadbeat dad, and into high heels.

Every element of this show works beautifully together. The music, by The Feeling’s frontman Dan Gillespie Sells, is a clever mix of powerfully catchy, polished foot-tappers and truthful, heart-wrenching numbers. The show is a feel-good merry-go-round that embraces ideas of identity, expression, inclusivity and bubbles under with teenage emotional angst. Sells has crafted some standout pieces, notably the title track which opens the show with a burst of colour and optimism, and in contrast ‘The Wall in My Head’, in which Jamie revisits the hurtful comments from his homophobic father as he struggles to get the confidence to leave the house in heels for the first time.

And at the show’s very heart is Layton Williams as Jamie – the queen-in-waiting – who is captivating, flamboyant and absolutely fabulous in the role. Charismatically sharp and sassy during the showstoppers, pulse-racingly choreographed by Kate Prince, he deftly reveals the ache of vulnerability behind his character’s catwalk strut

While most of the characters exist to orbit Jamie, they still have their own stories and these are well told. As Pritti, Jamie’s best friend who wants to be a doctor, Sharan Phull is funny and affecting. Phull delivers a slick, polished and incredibly nuanced performance as the bookish Pritti who must battle her own fair share of bigotry and bullying, mainly at the hands of school bully Dean Paxton, played wonderfully by George Sampson. Her stand out moment comes in the delivery of her beautiful and emotive solo ‘It Means Beautiful’, where she gets the chance to demonstrate her beautiful vocals.

Amy Ellen Richardson is superb in the role of Margaret New, Jamie’s brilliantly supportive, resilient and stoic mother. Richardson delivers an astonishingly emotional performance, particularly in the second act with her note-perfect delivery of the highly charged ballad ‘He’s My Boy’. Shobna Gulati plays off Richardson’s Margaret as the ballsy and gobby Ray who provides many of the light-hearted moments of the show.

The Jamie cast is so strong that this should be a review praising each and every one of their wonderful performances. Shane Richie’s gravel-voiced drag queen turns out to be a most unusual mentor / father figure and he also looks rather fantastic in drag as Loco Chanelle, a far cry from the Queen Vic! The wider ensemble is a joy, as are the three fabulous drag queens, Sandra Bollock, Tray Sophisticay and Laika Virgin portrayed by Garry Lee, Rhys Taylor and JP Mccue respectively.

Despite the struggles that Jamie is facing, he isn’t ashamed of who he is, he’s simply scared of what he could achieve if he were brave enough to try. Book writer, Tom MacRae, has written a beautifully rounded, multi-dimensional character in Jamie New, and he has Jamie Campbell – the real-life person on whom Jamie New is based – as his inspiration. Director, Jonathan Butterell, complements the writing with delicate direction that mixes up the pace and avoids drifting into saccharine territory.

Storytelling that can help to change the world

The show dialogues has been updated with a healthy bout of jokes about mask wearing and social distancing. Jokes about the impossibility of dating during a pandemic go down well in the auditorium!

Jamie is a musical about striving for acceptance in the face of the most extreme adversity. It’s about how challenging finding your true path can be when faced with the most horrifying narrow-mindedness and bigotry. The show doesn’t shy away from exploring some serious themes including bullying, racism, abandonment, homophobia, and transphobia to name a few.

What is so very special about this show is how sensitively and, surprisingly comically the content is delivered. Jamie is incredibly and brutally funny at times. These serious themes are handled with a raw and honest level of humour and reality that at one moment kicks you in the gut and has you howling with laughter the next. This is storytelling that can help to change the world!

Everybody’s Talking About Jamie UK tour is at The Lowry, Salford Quays from 1-12 September 2021. Age recommendation 12 plus.

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Being a keen gardener, which I have inherited from my Mum, I decided to book us both a day out at the new Royal Horticultural Society (RHS) gardens in the North West – RHS Garden Bridgewater.

The RHS was founded in 1804 to inspire passion and excellence in the science, art and practice of horticulture. During the last 18 months, gardening and gardens have played a massive role in helping boost peoples’ mental health – mine included. The RHS is committed to bringing the joy of gardening to millions of people around the world and inspiring the next generation of gardeners, and judging by the people enjoying RHS Bridgewater, that certainly appears to be true.

RHS Garden Bridgewater is located on the site of the estate of Worsley New Hall in Salford. The Hall was demolished in the 1940s, but in its heyday was a notable residence featuring extensive formal landscaped gardens. In fact, Queen Victoria visited the Hall in 1851 and 1857. For her first visit, the Queen travelled to the Hall via the Bridgewater Canal, and in honour of her visit, the canal was dyed blue.

This garden is part of the RHS’s £160 million investment programme, to bring the health and environmental benefits of gardening and gardens to millions of people and was the largest gardening project in Europe at the time of construction. The project is anticipated to add £13.8 m each year to the local economy by 2029.

Greater Manchester was the first local authority in the country to take charge of its own healthcare budget. The RHS recognised this opportunity to forge partnerships with local universities, GP surgeries, hospitals and social services. Healthcare practitioners are able to refer people to the garden to take part in gardening activities to promote better health and wellbeing. Specific garden areas at RHS Garden Bridgewater are designated for this purpose from which local people will benefit.

Way before RHS Garden Bridgewater was open to the public, the community outreach team worked with 20 schools and community groups in Salford. Also volunteers from all walks of life have given up their time, in all weathers, to clear areas of woodland, dig over borders ready for plants to go in, and led tours through the site. Some have a connection to the garden through local and family history, other love gardening or are interested in playing a part in developing this fantastic resource for the Manchester community. Some community projects have accepted the opportunity to have their own designated space at Bridgewater.

In 2017, the RHS began work on an ambitious project to create a world-class garden for the north west of England and is named after the Bridgewater Canal that runs along its southern edge. RHS Garden Bridgewater is actually the first new garden that the Society has designed and created from scratch in more than 100 years. It comprises the fifth RHS Garden, established on the edge of a large and diverse conurbation, on a site with an existing horticultural heritage.

The new garden design, spearheaded by Tom Stuart-Smith, embraces the heritage of the old site, but also incorporates innovative designs that connect to different cultures, eras and gardening styles. Together with being absolutely stunning, I have to say that I have never seen so many bumblebees in a single garden before! The bees certainly seem to be giving RGS Bridgewater the thumbs up!

When you arrive, there is a massive free car park, complete with up to 50 cycle stands for 100 bikes and also electric-charging stations for vehicles. You enter the Garden via the contemporary Welcome Building, clad in warm larch and flooded with light. Its roof is a green roof, covered in wildflowers and sedum and gravel channels allow rainwater to be collected for recycling both within the building and outside in the wider garden. The building has a superb café, shop and one of the best stocked plant centres I have seen (needless to say, we left with a fully packed car of plants for our own garden additions!).

Award-winning designers have crafted areas throughout the Garden, each demonstrating the latest thinking and best practice in garden design to help mitigate the effects of a changing climate. The Weston Walled Garden is an original feature of the historic estate. This is where fruit, vegetables, exotic fruit and flowers were grown on a vast scale. Today it comprises a series of themed gardens including a stunning Paradise Garden, complete with fantastic water features, a kitchen garden, greenhouses and more.

A short walk takes you to the Chinese Streamside, which recognises and is sponsored by the local Chinese community. This is a work in progress, which in time will comprise seven different zones, celebrating different styles of planting, with traditional Chinese buildings occupying some of the space.

Continuing on, you come to Ellesmere Lake, an original boating lake that has not been partially restored. The lake was carefully drained and cleared of debris before it could be transformed into the beautiful spectacle that it is today, surrounded by mature woodland.

We only managed to explore a small fraction of the entire gardens but were astonished by the sheer magnitude of what has been achieved here. The plants, shrubs and trees are absolutely fantastic – and all coordinated in terms of colours, spread and height to give the most stunning displays. There are seats provided throughout to just sit and drink in the scenery around you. Also dotted around are places to buy a coffee and cake. Volunteers are working constantly through the gardens.

You get such a sense of pride from everyone you interact with – from the lady who meets and greets you at the Welcome Centre, to the catering staff in the shepherd’s huts which serve as coffee shops, to the volunteers themselves. And proud they should be – this is an absolute gem in our back garden!

Having only been open this year, I will enjoy visiting the gardens regularly over the coming years to see them grow and how the various plants establish themselves and continue to create even more superb displays. RHS Bridgewater has many more plans for expansion and this is something I want to continue to monitor and support. As an RHS member, entry is free and for others you must (at the moment) purchase your entry in advance. This is definitely a super day out for the whole family, and it was wonderful to see so many families, including 3-4 generations – all together enjoying their picnic and day out in fantastic surrounding so close to the City. Well worth a visit.

For details visit the RHS Bridgewater website.

Rediscovering Longford Park

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I was lucky enough to join a virtual tour of Berlin, provided through Globetrotter VR.  Not only is the tour possible in the comfort of your own home, visiting places by the means of Virtual Reality, but you also get to have a conversation with your very own tour guide, via Zoom.  Our guide was Dr Finn Ballard, a trans man and exceptionally knowledgeable about the LGBTQ+ history of Berlin, having lived there since 2008.

The tour starts off as a conventional zoom meeting, but then the guide shares their screen, which provides a 360-degree panorama using high resolution imagery of the different locations it is possible to visit.  You can have access to this VR panorama after the tour, and navigate yourself around Berlin, where there are useful bits of information provided at different locations if you want to read more about the location or its history.

During the virtual tour, Finn took us to different locations and provided a verbal explanation of what each location represented in terms of LGBTQ activities – past and present.  As with a normal walking tour, this was a two-way process, where we were encouraged to ask questions which Finn was able to answer.

We visited different locations throughout West Berlin.  Finn pointed out the magnificent pre-1900 buildings that remained in the city, which is itself remarkable since 80% of buildings in Berlin were destroyed during WW2.  As we travelled around to different locations, we got an overview of why they were important from the LGBTQ+ point of view – discussing developments in gay literature and publishing, gay cinema and theatre, to where current Prides are held throughout the year and the best current clubs to go to.

For example, we learnt that the first ever gay magazine, “Der Eigene,” was published in Germany in 1896.  In 1897 in Berlin, the publishers of “Der Eigene,” Dr. Magnus Hirschfeld and Adolf Brand, went on to form the world’s first gay liberation movement. The “Scientific Humanitarian Committee” was a political group that lobbied the German parliament to abolish the law forbidding homosexuality known as “Paragraph 175,” which had been on the books since 1871.

The gay subculture flourished in Berlin in the era between World War I and the rise of the Nazis, when there were nightclubs and cabarets that catered to a gay clientele, gay-themed theatre and films and gay-oriented publications that were sold at kiosks.  Berlin become a haven and refuge for gays and lesbians from all over the world. There are 170 clubs, bars and pubs for gays and lesbians, and well as riotous nightlife and a gay neighbourhood. Much of the gay nightlife was centred around Nollendorfplatz in the Schöneberg district of Berlin, and still is today.

Partly driving this new era of tolerance were the doctors and scientists who started looking at homosexuality and “transvestism” (a word of that era that encompassed transgender people) as a natural characteristic with which some were born, and not a “derangement”.  In 1919, Hirschfeld founded the ‘Institute for Sexual Science’, with which he aimed to make people conscious of their sexuality and allow people to live their sexual lives as they wanted, not just according to rules that were dictated by society.” The story of Lili Elbe and the first modern sex change made famous in the recent film “The Danish Girl,” reflected these trends.

For Germany’s gay men and lesbians, Berlin represented promise. Its gay scenes offered exciting places to hunt for love and happiness. Christopher Isherwood, whose short stories based on his stay in Berlin eventually became the basis for the 1972 film Cabaret, with Liza Minnelli, put it simply enough: “Berlin meant boys.”  There were larger clubs that offered singing, cabaret, and theatre, whereas smaller ones focused more on giving men a chance to mingle among themselves, perhaps providing a piano player to offer entertainment. One of the most famous nightclubs in the 1920’s was the Eldorado, which featured several transvestite performers.

However, this gay utopia was suddenly threatened one day in May 1933, when pristine white-shirted students marched in front of Berlin’s Institute for Sexual Research – that safe haven for LGBTQ people – calling it “Un-German.” Later, a riot ensued, and the mob hauled out its library to be burned. 

The Nazis’ rise to power spells the death knell for this diversity in Berlin. Within just weeks of Hitler’s appointment as chancellor on January 30, 1933, the subsequent raids and crackdown throughout the year marked a stark turning point in the Nazi persecution of homosexuals. After Hitler’s regime took control, all gay and lesbian bars and meeting places in Germany were closed. 

The Gestapo opened a special anti-gay branch. During the following year alone, the Gestapo arrested more than 8,500 gay men, quite possibly using a list of names and addresses seized at the Institute for Sexual Research. Not only was Paragraph 175 not erased, as a parliamentary committee had recommended just a few years before, it was amended to be more expansive and punitive.

Between 1933 and 1945, an estimated 100,000 men were arrested as homosexuals, of whom some 50,000 were officially sentenced. Most of these men served time in regular prisons, and an estimated 5,000 to 15,000 of those sentenced were incarcerated in Nazi concentration camps, although many argue that these figures were significantly higher. Gay men in the camps had to wear a pink triangle on their clothes, and often suffered an unusual degree of cruelty by their captors.

After WW2, Paragraph 17, the law criminalising male homosexuality was retained in democratic West Germany, which convicted some 50,000 men between 1949 and 1969.  Homosexuality was eventually decriminalised in 1969 but the legislation wasn’t taken off the books entirely until 1994, a few years after German reunification. 

After the suppression of the entire gay and lesbian community and subculture by the Nazis, it wasn’t really until 1971 that the homosexual scene started to recover again – which is when the gay movement Homosexuelle Aktion Westberlin (Homosexual Action West Berlin) was founded.

The first Christopher Street Day (CSD) (gay pride parade) took place in Berlin in 1979. The community got a whole new lease of life with the founding of the Berliner Lesbenwoche (Berlin Lesbian Week) and the oldest and largest gay and lesbian city magazine Siegessäule in 1984.  Since 1993, the gay/lesbian city festival has been celebrated every year – it is the largest of its kind worldwide and ensures to this day that Berlin is home to the most diverse, vibrant and popular gay/lesbian scenes in Europe.

These days, up to 750,000 people celebrate the CSD in Berlin in the streets of the city – no matter whether you are gay, lesbian, bisexual, heterosexual, transgender or another sexual orientation. More than 50 floats make their way through the city and towards the Brandenburg Gate.  The Berlin nightlife is now famous again for its gay clubs – the most notable is the Berghain at Ostbahnhof and the KitKatClub in Mitte.   Berlin now has rainbow neighbourhoods in Kreuzberg, Mitte, Schöneberg and Prenzlauer Berg.

Having experienced the hour-long virtual tour, Berlin is now well and truly on my list of places to visit once this pandemic is over. The clubs sound great but I also want to drink in the history and visit the various locations on the tour myself to pay respect to those who did not live through the more tolerant times that we enjoy in Europe today.

To find out more or to book a tour visit globetrotter-vr.com

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Last night, I had the absolute privilege to watch ‘Voyage’ in which Finley Letchford-Dobbs regains control of his journey as a trans person through dramatised contemporary dance, music and video – a bold reclamation of power in a world that desperately tries to silence him. It is not often that a pure nugget of brilliance comes along – but that is what this 30 minute performance offered to those lucky enough to catch it.

The whole performance wasn’t just brilliant, but was incredibly clever. The use of a relevant and resonant soundtrack, edited by Greg Thorpe, and a precise combination of Tom Sutcliffe’s lighting with Letchford-Dobbs use of stage space worked perfectly to enable the audience to identify with the stages of the trans voyage Letchford-Dobbs has been navigating.

Finlay Letchford-Dobbs is definitely a talent to watch out for, not only responsible for all choreography and performance in this excellent show, but also for the video projected at the back of an otherwise empty stage, providing pertinent information throughout to provide context to the stages of this voyage of transition from female to male identity.

Starting with video images of a little girl, with an obvious love of dance and performance from an early age, this takes centre stage with Letchford-Dobbs sitting on the dark stage, his back to the audience, watching presumably the time before his voyage commenced. The soundtrack choice of T Rex’s Cosmic Dancer is perfect, including lyrics ‘I was dancing when I was 8’. The video morphs to a Disney Peter Pan film, and Letchford-Dobbs commences his performance, wearing nothing but jeans and a white shirt, which is open, showing us the breast binding which is ever present until later stages of his voyage.

That voyage takes us through the stormy sea of this trans journey, with soundtracks from Christine and the Queens, and Mika, coming to terms with his future identity, with a video backdrop of different Transgender and Intersex flags, with the LGBTQQIAAP logo displayed prominently. The dance routine is clever, with some movements that seem very female, morphing into others that are somehow more masculine – illustrating how one being can be both female and male. This is followed with video background of newspaper articles about trans people – all of them negative, e.g. ‘You’ll have to hide away’, ‘are you a girl or a boy’, ‘but you look like a girl’.

The use of four empty chairs on the stage, with a clock spinning through its hours, portrays the frustrations of a trans person having to explain to doctors, surgeons or other medical practitioners why they want to have surgery and make their transition, in this case from female to male. As Letchford-Dobbs sits as each chair, you see him having the same conversation over and over again, becoming more frustrated and afraid he will never receive the ‘permission’ he needs for access to hormones and surgery.

Letchford-Dobbs has the ability to manipulate his audience’s emotions at every stage of this clever production. Having felt his anguish over being ‘allowed’ to begin his medical transformation, we then feel his elation when this is granted. The removal of the bindings is clever – with ropes in the colours of the transgender flag ripped off, followed by the breast bindings which have been constant until this point. His smile and dance of pure joy is infectious.

The last part of the performance is superb. If you came to this part without having participated in the voyage, you would conclude this is the male soloist of a ballet troupe with incredible core strength and talent. The graceful performance shows nothing of the brutal voyage he has been on to get to this conclusion.

In the end credits, Letchford-Dobbs says: ‘I’d like to thank Greg Thorpe for his continuing mentoring and support. Also, everyone at the Hope Mill Theatre and the producers of the TurnOn Fest for granting me this opportunity, seeing the potential in me and my work, supporting me throughout the process and continually giving trans artists a platform.’

Hope Mill is right to identify potential in Letchford-Dobbs, and someone I recommend putting on your ‘one to watch’ list if this fantastic production is any example of his work to come.

Voyage was performed and streamed online on 25 March as part of Hope Mill Theatre‘s Turn on Fest 2021.

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Bringing together Hesmondhalgh and Davies was a perfect coupling, as they were both relaxed and happy in each other’s company, saying that they had shared a drink in the bar at the Hope Mill Theatre on many an occasion in the past. The interview felt like being a fly on a wall as two friends chat about the incredible career Davies has enjoyed, as well as the advances both of them have championed in the representation and acceptance of gay and trans people in television and society in general.

Julie framed her questions by explaining her preparation for the interview had involved her immersing herself in “Russell-World” for the previous few days, and her premise for the interview was that she had a Davies sized (6ft 6”!) paper cut-out that she wanted to fill with the people, inspirations and moments in his life that had Maketh the Man he is now.

Starting out with this childhood, we were provided with the impression of a very happy period in his life. Growing up in Swansea, with two sisters, and parents who were both teachers, he spoke about how they were both positive influences on his decision to work in the arts. A key cog in the family wheel was the local rugby club, where most of the family congregated on a Saturday night, where Davies, surrounded by the heady smell of beer, was only concerned about getting back home in time to watch his beloved Dr Who. With a frame for a rugby player, and with such a culture of rugby in his home country, his father might have expected him to make this his passion, but instead told him: ‘You don’t have to do anything that you don’t want to do’.

Davies was therefore able to make his entry into the arts, belonging to the South Glamorgan Youth Theatre, as well as crafting his skill as a cartoonist, taking inspiration from his supply of Asterix books. The Youth Theatre presented more than just a space to practise his acting, it also provided a ‘gay space’ where other budding thespians were able to embrace “their campness”. He explains that the Youth Theatre was a very professional outfit, where plays were properly arranged, and very disciplined in how they were conducted – all skills required for a successful producer of future TV hits. Davies says that being involved in the Youth Theatre and the arts in general ‘opens your mind and imagination’.

That imagination as a 15 years old, (and in the present) never seems to stop working for Davies. As that 15 year old, would walk home from school, imagining new plots for Dr Who. One of his first ever memories is at around three years old, hiding by the side of the sofa, being terrified of the Cybermen!

His first foray into work was actually using his artist drawing skills, working on illustration of the Oxford handbook and posters for various theatres (he has designed posters for Hope Mill Theatre previously). He hopes to return to his incredible skills as a cartoonist again soon.

Having been rejected from a BBC Traineeship twice, Davies managed to gain a position on the very popular kids TV show ‘Why Don’t You’. Starting on the studio floor to help the kids with their lines (including a 12 year old Ant from the famous duo), he progressed to writing the scripts for the shows after a particular long lunch of 8-plus beers incapacitated the then producer from writing the script that day, and enabling Davies to show what he was capable of. In 1987, the programme transfered to Manchester, and Davies moved here with it.

Julie prompted Davies for details of the TV he was involved with prior to really hitting the big time with Queer as Folk. He loved his time writing soaps at Granada, in which he was responsible for the introduction of many gay characters into TV. He says this was not something that he did ‘with a political plan’ in mind, he simply added them since he was gay and many of the people he was working with were gay – so it just seemed natural.

Queer as Folk, which Davies picks as his creation that he is most proud of, was his first show with a massive budget – so they threw everything at it. Not only did Davies write the ground breaking show, but he also had strong influence on everything from what people wore, to style, colour palette and tone. He says that Queer as Folk changed his life, and doors are still open to him because of the show.

The success of his recent show ‘It’s a Sin’ was as much a shock to Channel 4 bosses as it was to Davies himself. He felt compelled to write this as a matter of capturing a time in history where he felt insufficient record has been made. He says he was shocked that so many people, particularly the younger generation had not idea that this period had happened in our recent history. He wanted to capture a time of such joy and sorrow, and feels the success of the show is down to the actors, where sometimes you just got magic in the scenes. He also reveals that the title is not actually from the Pet Shop Boy’s song, but rather song from the 1930s ‘It’s a sin to tell a lie’, which had been in his head since his early years in Swansea, when his family used to sing it around their piano.

Julie, who played Cleo Whitaker in Davies’ Cucumber, one of three shows with Banana and Tofu, explored why these shows were not such as hit, concluding that they were probably ahead of their time, Streaming figures for the shows have spiked since It’s a Sin was broadcast and hopefully they will have the attention they deserve now.

Finally, Julie asked if Davies has to send something out into space which provided an aliens an impression of human life – what would it be. His response shows that despite his success of Queer as Folk, the programme that is and will always be his true love is Dr Who. Davies says that his progression from watching Dr Who as a small boy behind the sofa, to becoming the executive producer of the programme ‘proves that dreams can come true’. He says he would send a tiny Dalek into space, as Dr Who is an extraordinary gift to the world. It is actually Mr Davies himself that is that extraordinary gift to UK arts and television. He has a new show mulling in his head at the moment – but we will have to wait to find out what that is going to be about!

The post What maketh the Man? An interview with Russell T Davies: Review appeared first on Quays Life.

The programme was created by Green Carnation Company, working with film-makers Bloody Bandit Production and local performers. This featured on the first week programme of Hope Mill Theatre’s annual LGBTQIA+ theatre festival Turn On Fest.

The stand out films of this production are ‘Draw Four’ by Lorna Rose Treen and ‘Prove It’ by Lynsey Cullen. Draw Four explores the changing perceptions around HIV and AIDs. In this film, we see a young women remembering a game of UNO around her Gran’s kitchen table when she was little. Her Mum tells them a neighbour has died from AIDS – an assumption she has made simply because he was gay. The dialogue is clever and has some wonderful one liners (for example about a Morrisey Tattoo), and makes clever use of tic-tacs, first as scoring counters for the game, and later as a little blue pill that stops transmission of HIV. The short video explores perceptions of people with HIV, from assumptions that it was a gay plague, to gay men being prevented from giving blood, to the current world where those who are HIV+ can be open about it and feel protected. Such massive steps have been made in a relatively short period of time (the lifetime of the woman telling her story).

Prove It is the most thought-provoking film in the series. A women has come to Britain from El Salvador, seeking asylum, escaping an arranged marriage and persecution because she is gay. The clock is ever present throughout the film, emphasising the fact she has to prove she is gay in the allotted time for her interview – just 45 minutes. She has had to hide the fact she is gay all through her life. There are not photos or messages to provide as evidence of her relationship with another woman, as the consequences of them being found would be grave. So how can she prove it? Her dream was never to come to Britain – she just wants to stop pretending she is someone she is not, and to stop being scared. This is a view on something many of us just take for granted – to be allowed to be who we are – which is impossible for scared and lonely LBGTQ+ people in so many other countries.

While these two stories and films are excellent the programme as a whole was a bit of a mixed bag. The evening was co-hosted by co-artistic directors Dan Ellis and Dan Jarvis. I understand their wish to convey their thought processes, interviews and the collaborations undertaken in development of each story, but their self-deprecating humour was a distraction, and perhaps in future, better kept well and truly behind the scenes.

The first performance left me completely confused and prepared to turn off straight away. It felt like the sole aim of the monologue was to squeeze in as many swear words as possible – if it had been the F word Olympics – a gold medal would have been awarded! Was it meant to shock? It didn’t – it just felt unnecessary and an excuse for not writing better dialogue. The title ‘Fluid’ and performed by Nick Maynard, explored fluidity of sexuality. I really felt that this subject could have been done without all the anger and aggression, and in doing so would have elicited much greater understanding and acceptance than this performance.

Lunchboxes by Matt Gurr explored the experience of being a gay dad to a little girl and the prejudices encountered by both. I did at one point shout at the screen – ‘get a grip man’, and the father’s process of making tuna sandwiches left a lot to be desired – after delicately buttering the bread, adding tuna and then completely squashing the whole thing – leaving a man-sized handprint on the final product!

The fact that 5 films were recorded during the past 12 months of Covid has to be applauded. However, my final gripe, one of the host’s said: ‘and along came Little Miss Covid’ – why does he think it should be given a female gender? Let’s not play down the serious impact this virus has, and is having, on the theatre industry and on the lives of every one of us, every day. The pandemic is not something to be taken lightly (as per a Little Miss character). The co-hosts need to ensure their script is as carefully crafted as that of the films in future.

Queer All About it was streamed on 19 March as part of Hope Mill Theatre‘s Turn on Fest 2021.

It’s A Sin star, Nathaniel Hall caught HIV aged 16, ‘First Time’ tells his story

The post Queer All About It at Turn On Fest 2021: Review appeared first on Quays Life.

Following a highly successful debut in 2020, Hope Mill Theatre announces rescheduled dates for Turn On Fest 2021, the annual LGBTQIA+ festival in partnership with Superbia, Manchester Pride’s year-round programme of arts and culture. And what an exciting programme of events it has in store this year!

The festival explores themes of gender, sexuality and identity, with events from key figures in the LGBTQIA+ space, and new, exciting talent as part of Hope Mill’s mission to develop and celebrate LGBTQIA+ local artists in Manchester.

Due to the ongoing Covid restrictions, the festival is going completely online, running from 17 to 28 March 2021. The venue will also be hosting online queer socials and panel discussions throughout the festival. So you can watch events from the comfort of your living room! The tickets are selling like hotcakes – so book now.

Headlining Turn On Fest 2021 is an evening in conversation with Hope Mill Theatre patron, Russell T Davies at 8pm on Saturday 20 March 2021. The evening is hosted by actress Julie Hesmondhalgh looks at Davies’ incredible career writing for film and television, including the ground-breaking Queer As Folk, and his newest Channel 4 drama, It’s A Sin.

Ru Paul’s drag star Divina De Campo is joined by special guests in An Hour with Divina De Campo for two performances on Saturday 27 March 2021 , directed by Kirk Jameson.

An Evening with Ryan Jamaal Swain sees the star of smash hit television series Pose discuss his career as a dancer and writer in an online discussion on Friday 26 March.

Superbia, Hope Mill Theatre’s partnering organisation, will host two key events within the festival. And Manchester based company, Green Carnation Theatre is screening four short monologue films called Queer All About It, in an evening of film, discussion and conversation.

Hope Mill Theatre has also offered development grants worth £1,000 as well as mentoring to four Manchester based queer theatre makers, Maz Hedgehog, Suriya Aisha, Finley Letchford-Dobs and Emma Hinds. These four local LGBTQIA+ individuals will showcase and develop their work while receiving marketing support, mentorship and rehearsal space.

The festival is now on sale and streamed events can be booked by visiting: hopemilltheatre.co.uk. There will be an option to purchase a festival pass to access all events throughout the festival.

The post Rescheduled LGBTQIA+ Turn On Festival well worth the wait! appeared first on Quays Life.